Well… I wanted to start my counterargument by saying how Fantasy and Purgatory in Episode 2 are already interconnected, but when I remember correctly, this happened only towards the end and you could easily claim that Yasu’s original Episode 2 ended with Piece!Battler being humiliated and torn apart by the goats after the clock struck twelve and that the ‘dinner’ with Rosa and its subsequent crashing by Meta-Battler is a forgery. It’s still a massive tonal shift from “This will be neverending torture!” to “Beelze stole my croissant!” even within the purgatory scenes of episodes 2 and 3, that make it hard to believe that this is anything Tohya planned in advance, but I can’t make a decisive argument based on textual evidence and must also admit, that the story still kinda works under that premise. All I can do is point out the thematic significance and say that it would hurt the story quite a bit if the Purgatory was not thought up by Yasu, but maybe that’s more of a personal opinion after all.
At least for me, one of the most decisive revelations was the realization that the game between Beato and Battler had always been nothing but a cry for help. That every time Beatrice demanded to be acknowledged, she actually wanted to be found, to be understood, and to be accepted.
Working under the premise that the purgatory was thought up by Yasu means working under the premise that Yasu must have realized that her murder mysteries would never lead to someone truly understanding her. All it would take to defeat her would be to suspect the right person, point at her and everything would be over. That’s why she created the purgatory, invoking the game she used to play with Battler, the game in which he caught a glimpse upon the true Yasu, and introducing a Red Truth that points neither on Shannon nor Kanon, but at Yasu herself and therefore needs true understanding in order to be used to strike down Beatrice. Since Yasu’s creations always tend to grow a life of their own, it is not too much of a stretch to think that she expanded her narrative in order to satisfy her true aims, even if that only meant that she saw no possibility at all to be truly understood in this roullette in real life. Tohya’s forgeries would then be there to continue where Yasu left off, to give closure to what she started, nothing more, nothing less.
If you approach the story under the premise that none of this was anything Yasu intended, then quite a bit of thematic shift sets in. It is suddenly less a story about Yasu wanting to be understood and more a story about Tohya adding motives that weren’t initially there to portray her in a better light.
Is that really what I want Umineko to be?